Village Voice's Scores

Select another publication »
For 11,162 reviews, this publication has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 7.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Hooligan Sparrow
Lowest review score: 0 Followers
Score distribution:
  1. Positive: 4,708 out of 11162
  2. Mixed: 4,553 out of 11162
  3. Negative: 1,901 out of 11162
11162 movie reviews
view
per page
  1. The Workers Cup
    Sobel lets these conflicting feelings hang in the air, offering no pat conclusions, or convenient corporate bogeymen. By refusing to resolve or reconcile these contradictions, he ensures that we’ll keep thinking about them.
  2. Hearts Beat Loud
    The real reason to see this film is Kiersey Clemons’s Sam and her romance with aspiring artist Rose (Sasha Lane).
  3. Hotel Artemis
    Whether it’s the too-harried pacing or too many central people vying for attention, the film’s heart never quite coalesces. Seizing it is like trying to grab a cloud. Pearce seems to want this movie to be both a neon pulp plot-heavy piece and a character-driven drama, and there’s just not enough time in a single film for all of it to work.
  4. Ocean's 8
    Simply put, the clockwork heist that Ocean’s 8 promises (and, by its end, dazzles with) limits the film’s ability to offer what you might actually want from it: the chance to relish this cast.
  5. The Tale
    The Tale is a powerful and clear-eyed examination of sexual abuse and the shifting sands of one’s own memories.
  6. Jurassic World: Fallen Kingdom
    It looks and feels familiar, and in an era where studio filmmaking has increasingly become an extension of brand management, that should make a lot of people happy. But I can’t say it made me particularly happy.
  7. Won't You Be My Neighbor?
    Watching this movie is like freebasing sincerity — a scarce resource in our current entertainment hellscape. It’ll give you warm fuzzies for days.
  8. A Kid Like Jake
    Howard, who is trans himself, approaches the film with sensitivity, but it ends up feeling like a conversation to be continued, not resolved. At least there’s some classic Claire Danes crying.
  9. The Texture of Falling
    While it’s obvious Allred wanted to make a possibly autobiographical, blatantly meta take on how insane young adults get when they fall in love, The Texture of Falling ends up being one baffling, infuriatingly pretentious exercise in indie filmmaking.
  10. Breath
    If only Baker and the gang had fleshed out horny hero Pikelet’s journey with the same earthy details that make Pikelet and Loonie’s friendship seem real enough to be worth mourning.
  11. Yadvi - The Dignified Princess
    The Singhs aren’t able to make Yadvi more distinctive than any other women whose fate is controlled by the hubris of men, or who’ve lost the wealth their titles once afforded them.
  12. The Doctor from India
    Sometimes a filmmaker is so taken with a subject that a documentary fizzles into hagiography, a problem of Jeremy Frindel’s The Doctor From India, a film about Vasant Lad, who brought the ancient Indian healing practice of Ayurveda to the U.S. in the late 1970s.
  13. American Animals
    Rather than plumb the apparent sociopathy that gripped these young men, Layton toys with unreliable narration and the vagaries of collective memory.
  14. Rodin
    The real Rodin imbued his clay with reverent, lusty life, while Doillon merely offers a buffet of nude day players.
  15. Upgrade
    Upgrade offers memorable, legible fights, a compelling bombed-out retro-apocalyptic look and a mystery that seems obvious at the start but then keeps twisting.
  16. The Man Who Killed Don Quixote
    It is an uncompromising work that will make many viewers frustrated and even furious. I adored pretty much every single glorious, gorgeous goddamn minute of it.
  17. The Wild Pear Tree
    Ceylan delivers what might be his funniest, most politically poignant work yet. It also happens to be achingly personal.
  18. Mary Shelley
    Mary Shelley marshals its evidence without revealing more, without connecting to the soul of the matter. Its Mary Shelley may walk and talk, kiss and rage, but she has no more of the true spark of life than that specimen in that lab.
  19. The Misandrists
    As in many of his films, The Misandrists finds the oppressed themselves oppressing others, a warning among all the dizzy outrageousness.
    • 83 Metascore
    • 70 Critic Score
    Who We Are Now
    While Nicholson’s onscreen, it’s impossible to pay heed to anything but her. She scorches the film with her barely bottled ferocity and vulnerability.
  21. Summer 1993
    The film confronts directly the contradictory feelings and impulses of a child who must assimilate into a new family, but Simón foregoes the bells and whistles of many other family melodramas, crafting instead an extraordinary and beautiful work of grief and memory.
  22. The Gospel According to André
    The Talley of before the election presents himself as a man who believes anything is possible if you swallow your anger, work hard enough, and sacrifice all — especially your chance at love — and the Talley of after seems to worry that much of that progress has proved an illusion.
  23. In Darkness
    The first third of the story then presents her like a typical Hitchcock ingenue before branching out into a promisingly ambitious mystery. Too bad that story ultimately loses focus and its protagonist’s point of view.
  24. Sorry Angel
    Honoré’s scenes feel at once composed and curiously mundane, as if he’s trying to take the precision of his earlier work and mix it with a more realist impulse — or, if we’re being less charitable, as if he’s trying to will his aesthetic into something more “mature.”
  25. Burning
    Lee Chang-dong’s dexterity with the telling minutiae of human interactions ensures that Burning makes for an emotionally gripping film. I’m not sure he sticks the landing, however: The finale, while it doesn’t actually resolve anything, felt to me more convenient than convincing. But maybe that’s because I had too much invested in these characters.
  26. Under the Silver Lake
    Mitchell has interesting ideas, and his actors seem to be having fun, but that’s not enough when the film itself lacks atmosphere, or tension, or emotional engagement.
  27. Happy as Lazzaro
    Lazzaro Felice has genuine sweep and grandeur, and Rohrwacher’s most impressive feat here might be her ability to find just the right narrative and emotional distance for each section of the story, as it moves from rustic drama to picaresque journey to more pointed social allegory; we’re always given just enough information to understand and appreciate the characters’ interactions and motivations.
  28. On Chesil Beach
    A movie can and should stand on its own, of course, but it still needs to find a way to give weight and scope to this intimate miniature. And while Dominic Cooke’s film succeeds at much of what it attempts, I can’t shake the feeling that there’s a dimension missing.
  29. Book Club
    Even though it follows the map of every romcom before it, Holderman’s film still offers the too-rare chance to marvel at just how good these women are at their craft, how easily they inhabit the bodies and lives of other people.
  30. Cold War
    Narratively, the music in Cold War is a means to an end; emotionally, however, it’s everything, often expressing what the characters cannot say themselves.
Page:

Top Trailers

See all »
See all trailers »